Peter Graham-Brillante

Peter Graham is a Scottish composer and studied with Edward Gregson at Goldsmiths' College, University of London and holds a PhD in Composition.  From 1983 until 1986 he was resident in New York City, USA, where he worked as a freelance composer/arranger and as a publications editor with the S.A. Music Bureau. Since his return to the U.K. he has worked regularly as an arranger for BBC Television and Radio and has specialized in composition for the British style brass band. Since the publication of Dimensions (1983), he has carved out a niche as an outstanding arranger for brass bands, and a leading figure amongst contemporary band composers. His original compositions, which include The Essence of Time, Montage and On Alderley Edge, are performed worldwide and have been selected as test-pieces for National Championships in Australia, New Zealand, North America and across Europe.  His music for wind and concert band has been recorded and performed by many of the world’s leading ensembles, including the Tokyo Kosei Wind Orchestra and the Royal Norwegian Navy Band. Harrison's Dream, commissioned by the United States Air Force Band, Washington D.C., won the 2002 ABA/Ostwald Award for composition(gramercymusic.com)

Brillante was commissioned by the British Bandsman as part of the Centenary  Celebrations 1987  and was first performed by Robert and Nicholas Childs.  The piece is a fantasia based on the traditional melody Rule Britannia, although it sounds more like a theme and variations.  The piece focuses mostly on the technical aspects of the Euphonium.  However there is a very lyrical melodic section based off of a Welsh Folksong.  It opens with fast 16th note runs based on the B-flat and C scales, and then breaks into a cadenza.  The written cadenza is not very extensive so many performers will add their own material for this part.  The most popular interpretation is the one I first heard by David Childs which involves lightning fast flexibility, use of the extreme ranges, and multiphonics.  After the cadenza the main theme is stated by the soloist followed by what I call the 1st variation.  This section involves a long fast sextuplet 16th note passage.  While most of them are slurred, the opening few bars of this section is tonged.  it then goes into the slow lyrical melody based off of a Welsh Folk song.  The accompaniment has a figure that is very reminiscent of the Habanera and can be taken advantage of to provide variety in this section.  Then it breaks into the final variation which is a very long 16th note passage.  The tempo marked is 144+ and most performances exceed the 144, most notably David Childs who takes it upwards of 160.  It concludes with a flourish up to a High E-flat, and some performers go for the G above that just to make it even more of a showpiece.  Here is a recording of David Childs performing this piece with brass band accompaniment.